IronFilm

Hi,
I found this forum looking for some way to synchronize a set of 4 samsung nx500 to take panopictures.
I am totally incompetent in electronics.
I found a samsung NX500 mod here: https://github.com/ottokiksmaler/nx500_nx1_modding
which enables the camera to use fully electronic shutter.
I was wondering if someone has ever tried to synchronise these cameras to shoot simultaneously (1ms accuracy) with some sorts of cable and/or firmware/software mod, something like SDM does for Canon cameras  which unfortunately do not have electronic shutter.
Such a mod would be useful not only for 360 degree pictures but also for stereophotography.
 
Any help and hints would be much useful.
Thank you.
Regards,
Giuseppe
.
 

I do reckon @Jedi Master should take a second look at the Panasonic S1H (or the BS1H, which is the same camera, but in a different form factor). 

Large... large??  😛 

i think anything more than a pocket 4k will be overkill for you

Large... large??  😛 

Yep..  it's the darnedest thing - on a film set they're thimble-sized and in danger of being lost, but if you pick one up and then walk out of the film set it starts to grow...  as you walk through crowded tourist hotspots it has become quite large, perhaps the size of a toddlers head, but as you walk away from the crowds it rapidly inflates to be the size of a watermelon, with passers-by stopping and staring at you..  by the time you leave the areas with moderate foot-traffic it has become the size of a dozen adult-themed helium balloons and gathers about the same amount of attention.

S1 and S1H cleanup awesome in post with noise reduction in Davinci Resolve, using their light 10bit LongGop. Great image pipeline. @kye Could be the best h264 camera of all when it comes to pure image quality and the best Long Gop in the biz.

I agree, I say as I'm shaking my fist on my front porch, these spoiled young'uns don't know how good they've got it these days!
Remember, the P4K shared its sensor with the Panasonic GH5S, which was itself a low light beast for its time (which seriously guys, wasn't that long ago!)
Even the original Pocket was regarded as being "pretty good at low light" (for its time, and for a cinema camera).
I shot part of a vampire feature film (we never completed it 😞 Was a very low budget thing, ran out of steam) with my OG Pocket + my SLR Magic 25mm f0.95 + a friend's borrowed Voigtlander 17.5mm f0.95 
Fantastic setup for super low light situations! We'd shoot outdoors at night, with simply the full moon and some small handheld LED panels. 
I remember reading about a feature film shot a while ago with a RED Scarlet primarily, but all the night scenes were shot with an OG BMPCC instead because it did better low light than the RED!

Maybe but not really…
5 years, Nikon film cameras, 2 in 5 years, followed by Nikon D2x I think it was until the D3 came out.
Stuck with those until the S model came out as it was quantifiably better.
But then, around 2011/2012, getting a little fed up with lugging around 2 huge/heavy units when paired with the 24-70 and 70-200, - something like 2.5 and 3kg each (?) so when the Fuji X Pro-1 came out, jumped to that small, lightweight, prime based system.
But then, every couple of years, Fuji did keep moving their game forward and I was also moving into video so needed more specific gear than my stills-orientated set up.
XT3 was my pinnacle of Fuji and was great for stills but less so for video with no IBIS and limited stabilised lenses so during the Covid era, took a leap of faith into L Mount and full-frame with the S5.
Wrestled with it ever since, (S5 AF wasn’t good enough for my needs, S1R great for stills but didn’t have the video spec, S1H has been great but iffy AF and S5ii great for video, but don’t like it for stills) never managing to find the right balance of; types of bodies, number of bodies, types and number of lenses…for my very specific niche in the market which is offering a 100% stills service at the same time as a 100% video one. As a one man band.
There are of course many ways a thing can be done, but some are better than others and there is no such thing as a ‘right’ way, only the way that works best for us as individuals.
Plus no manual or training so I have very much had to teach myself through trial and error and that has meant trying stuff/kit/combos that have not worked or not worked as well as I hoped.
We are now at that point however where the tools exist.
For me there is no more, “if only my cameras could shoot at 1600 iso”, then 3200, then 6400, or “I wish I had IBIS”, or 4K 50p internally or… spec-wise, I am more than done and I don’t know but I could make maybe 10+ different cameras work these days?
For me, it’s no longer chasing anything I NEED, simply what I WANT and what I want, is quite simple and that is…
A more compact set up that covers all my needs without compromise (at least anything significant) and is more enjoyable to use.
To that end, Canon have the best option for me, a bit heavier than I’d like, but I could live with that, but without trade in, it’s an 18k investment and I don’t have it and even if I did, that would be a BIG commitment.
So musing/fantasy aside, I have to scrap that non-starter!
Sticking with what I had was not an option. Too big, too heavy, great for video, less so for stills, not enjoyable to use.
Back to Nikon for stills with adapted Tamron lenses and it ticks every single box.
My only debate is whether I continue with L Mount for video, which is great and I love it, but am I not better off trading 2 bodies and 2 lenses for 1 body and 1 lens to have everything in the same system, ie 100% Nikon?
I think probably yes but not if that 3rd body was a Z9 because that would be overkill. Z8 maybe… Z6ii no because it’s not as good as my Panny S5ii never mind my S1H so any change has to be at least sideways, if not forwards…and I suspect the Z6iii will be better than the S5ii…and if it is, I will almost certainly go that route, but not because it’s simply better as a camera, but because it makes more overall sense as part of a total system.
And part of me hopes it isn’t so I can stick with L Mount for video as I am not exactly trying to flip for the sake of something that might be better, ie, grass greener elsewhere, but only if it actually is!

Yes, FAR too slow. The 70-200 f4 is borderline as it is, plus zero requirement for anything longer than 200mm and 150 would be enough for my needs and that is why I have the 70-200 f4 which is under 1kg, not much heavier than that 70-300 but nowhere near the size & weight of the f2.8’s
I’m not looking for anything else in L Mount as I have all I need and it’s simply a question of whether I carry on with L Mount at all for my video needs.
That’s the only fence I am currently on and I’m just sitting on it right now waiting on news on the Nikon Z6iii as that is now the pivot point.

I've heard this called "Availableism". Using what's available to you to determine what's in the story. It's something that has been done since the beginning of cinema really. The advantages over writing whatever then spending money to obtain those things is that it's cheaper. You use what you have around you. The other advantage is that it can be about a certain subculture and made by the people in that subculture giving it an "authenticity" I suppose.
 
This is a good approach I've used a lot producing short art videos. In the mid '90s I applied for an arts grant for a feature length video (FLV) to be shot in S-VHS, using this exact method. I had the themes figured out and the cast, who were playing characters based on themselves, a skeleton of a story but no details figured out. This would be done with the workshopping as we went. No script but notes about what would happen in the scene and how it would end. The actors improvising.
Anyway, the arts grant jury were all traditional film people and they thought this approach was sloppy and likely to fail. They were so used to the cost of shooting film determining the level of planning needed (in those days there was a big divide between video art and film art,). I didn't get the grant (But I'm not bitter... Anymore.)
I ended up making it as a short video out of my own pocket a year later having wasted all that time and effort in the application that could have gone into just making the thing a year earlier.
 

I doubt if there is any combo I have not considered!
Maybe some are reading too much into this, but I am more than happy with the direction things are taking.
I like L Mount for video but not for stills.
The lenses Canon offer do not offer anything over what anyone else offers other than the hugely expensive and heavy 28-70 f2 and the new 24-105 f2.8 ie, the only lenses from Canon that interest me are these RF lenses and these of course are not L or Z Mount compatible. 
These are examples of >1kg lenses I WOULD give a pass to because with a pair of R3’s would give me everything I need in a 2 body, 2 lens combo.
Arguably, Nikon could with a Z8 plus the Tamron 20-40 and an R9 with the Tamron 35-150, but the latter is back up to being a 2.7kg combo which is too much.
L Mount… For the video side, great, but until something comes along to replace the S1R, the bodies don’t exist and nor do the lenses.
OK, at the wider end they do, but it’s the longer end where it does not and it’s actually a case of needing MORE lenses and needing more swaps to make it work as the last 2 years have proved to me.
And whilst I have not tried every combo, I have most viable options and there have been too many compromises.
As always, for me and my specific needs.
 
 
 

Yes, had it for over a year, too slow in low light.
Otherwise, yes, had and still have one of those lenses, the 28-70 which is my workhorse, the 105 not quite long enough, the 135 OK but a very limited lens compared with say a 70-180 or 70-200 or even Tamron's 35-150...which was going to be my 'lens to build a system around', except I decided it was too big and too heavy and actually more limiting than having the 20-40 and 70-180 I opted for. 40-70 is kind of a dead focal area for me, so no loss for me not being able to cover it.
But it's all moot anyway as I dislike the S5ii as a stills camera, never bought the 3rd unit, already sold the second unit and MUCH prefer the Nikon Zf for stills.
I know I will prefer the Z6iii and/or Z8 also for stills having had a play with a Z6ii.
Comparing the Z6ii with the S5ii as direct rivals, the Z6ii felt better in the hand and I prefer the Nikon files, but the S5ii is the better pure video unit and probably the better hybrid. In fact I'll say the Lumix is the better hybrid.
I think the Z6iii will still be better for stills, perhaps even better and at least equal for video and probably the better hybrid.
Total guestimation but pretty sure.
And the Z8 is just of course better, in the hand, at least for stills, possibly video...
Whatever L Mount did or can offer now doesn't matter to me anymore as the decision has already been made to go Nikon (at least fro stills, possibly for hybrid, maybe even full video also...) gear has been sold, gear has been purchased albeit I am still as things stand, 50% in the L Mount camp having; an S1H, S5ii, 28-70 and 70-200.
It's just a question of where I commit to next, but it will not not be back to L Mount (for stills), mainly due to the lenses available. Not having something equivalent to the Tamron 35-150 or 70-180 is a massive issue to me and has been the core of my issues for the last 2 years.
I could even live with the S5ii for stills had the lenses been available. And a battery grip that actually fits properly...

Brevity, for clarity, as follows: 😜
Was/am very happy with L Mount for video but less so for stills and as stills are 50% of my work, I needed a solution after several years of trying to wrestle a solution within L Mount...but failed, hence going back to Nikon.
My work is near 100% hybrid and I can either partition off stills and video into separate units as I am doing with Nikon and Lumix, ie, there is zero crossover/compatibility other than in an emergency, or have all units designated 'hybrid'.
So Lumix for the video capture and Nikon for stills but together on a single job, the overall result is 'hybrid', ie, full video coverage and full stills coverage.
It would make more sense though to have cross compatibility with lenses.
Other than a single cheap 40mm f2 that came with the Zf, I have/am going over to Tamron for lenses as they are the manufacturer of the closest to my ideal when it comes to focal ranges, size, weight, cost etc.
As mentioned before, cost no object, I'd go Canon...but that is another story entirely and an 18k one I cannot justify, never mind afford, so can forget that!
Now if I was to trade the pair of Lumix cameras with their pair of L Mount lenses, and for a single Sony, because all of my kit would now be cross compatible, whilst that single Sony body (in whatever flavour) could be my sole dedicated video unit, the pair of Nikon's that were designated as 'Stills Only', could be used in a hybrid manner to fill in some of the holes not covered by the single dedicated Sony unit.
But then, the more logical conclusion is why even bother with any Sony unit when a third Nikon would provide the same solution but actually probably better as it would have matching (or much closer) results.
The total collection of kit would then be as follows; 3 bodies, 4 lenses with those lenses being; 20-40, 40, 28-75, 70-180.
If the next gen Nikon Z6iii gets launched any time soon/before March 2024, it makes the most sense because then the:
40mm f2 lives on the Zf as my candid hybrid unit which is around 50% say of my work, so low-key, small, light, discrete etc.
One Z6iii has the 20-40 welded to it for hybrid.
The second Z6iii has the 28-75 indoors and flips to the 70-180 out, all also hybrid.
It would then probably be the most capable and compact full-frame set up for my needs.
Or that second Z6iii, I go with the Z8 which is arguably a little more 'pro' and would allow me to try out 8k raw, assuming the Z6iii will not have that capability.
Or as I was mooting, the FX3 or FX30, but I guess neither make as much sense as a third Nikon...
Plus I'd be giving up L Mount totally and the S1H plus S5ii combo just works...so it comes down to the question of:
4 cameras + 5 lenses that are not totally compatible vs 3 cameras + 4 lenses that are compatible and the cost is equal.
With my current direction back towards, smaller, lighter, faster, with no lenses above 1kg, the latter option makes more sense and has more appeal...but I would be VERY sad to have to give up L Mount.
Not much brevity after all 🤪

I dunno why on this thread you keep pushing for FX3 and on my thread with FX3 you keep pushing not using FX3 😂
 
As I said i have colab with company/ppl that use Canon so I have to use Canon cameras if I shoot with them.

Size & weight of overall kit as a one man band hybrid shooter.
As things stand, going into ‘24, I have a 4 camera, 5 lens set up split:
2 bodies, 2 lenses, L Mount ‘video’
plus
2 bodies, 3 lenses, Nikon ‘stills’
Many reasons including; preferring Nikon for stills over anything Lumix currently offer, but preferring what Lumix offers for video, plus cost as I’m mainly already invested in L Mount (although sold 1 body and 4 lenses very recently).
I would rather have 3 bodies and 4 lenses however and 4 interchangeable lenses at that, but nothing is cross compatible between Nikon and L Mount.
Switching to Sony or Nikon for video would give me that cross compatibility plus less kit to lug around and use.
Switching to Sony for video only really gains me the ability to cross swap lenses but a full switch to Nikon perhaps makes more sense as I could use all 3 cameras as hybrid rather than designated as video or stills.
Better low light FX3 vs better rear screen of the FX30 plus more reach with the same lens FX30.
I’d go with the Tamron 28-75mm f2.8 G2 because it’s compact and an excellent lens and on an FX30, would give me more like a 40-110mm lens.
But, yes, I do sometimes have a requirement for something longer…
Which I don’t need and am covered for all my needs with the 70-180…except it’s on a stills designated body…
So, flipping my 2 remaining L Mount bodies and 2 lenses for a 3rd single Nikon and a third Tamron lens, 28-75 would make most sense having the 20-40 and 70-180.
But what?
I have a Zf and it’s perfect for my needs, (candid stills) and is supposed to have very nice video (not tried it yet for that) but is it suited to being an all day, principal video unit? I think not.
My intended second unit is a Z8 even though I prefer the Z9. It’s just more compact and costs considerably less.
Could I afford/justify another Z8? Nope.
So the only other option is a used Z6ii, but is that in any way better than an S5ii? I don’t think so…
Which leaves something that does not exist yet but most likely will pretty soon, the Nikon Z6iii.
And that is the final piece of the puzzle I am waiting on and will determine whether:
A. Stick with the Lumix/Nikon mix for ‘24
B. Go fully Nikon but perhaps the Zf plus a pair of Z6ii’s
C. Zf, Z8, Z6iii
D. Pair of Nikon’s plus a single Sony
I would and will be happy with any of these options which is why I am heading in this direction, but I think B mostly likely, then C, then A and least likely D…though that option still makes huge sense.
As always it is a juggling act but all the options are great now, so it’s a case of which suits me best.

I spent some time learning more about color management and think I have a better system for color grading in Resolve.
I create two nodes. The first one is an ACES transform and converts the color space from that of the camera into ACEScct, like this:

The other node is also an ACES transform that converts from ACEScct color space to Rec.709 for display on a monitor, like this:

Then I set the timeline color space to ACEScct, thusly:

I then create additional nodes between the node that converts camera color space to ACEScct and the one that converts ACEScct color space to Rec.709 and make all adjustments to those additional nodes. That seems to be a much better way to color grade in Resolve, and the HDR color wheels seem to work much better and more predictably.

Ha! I don't think anybody owns individually 3x Sony BURANOs
But if you're part of a wide production, say just shooting a few days on a doco or coming in as an extra camera on reality tv series or doing a pick up day on a feature film, then yes, what camera you are using is very important.
As you're just one small cog in a bigger machine. (maybe that's one of the big differences vs a lot of photography, there is no "machine". Or if there is, the photographer is a much bigger cog in the machine, or even more likely the driver of it)
 
I'd say there is are two very different classes of DoP:
Those who own a camera vs those who don't and just rent in the cameras for a project as is necessary. (although, anybody owning an ARRI ALEXA Mini kinda fits into that second category. Just the difference is whenever they want they can access "a free rental" of their Mini from the rental house where it is being stored. As they probably won't have it being stored at home, or at least that's been the case with people who I know who own one)
And those in that first category are very much so are broken up into different tiers depending on what sort of camera they have. 
Side note: there are people in the second category who own a camera, but still sit in the "second category" because that's how they portray themselves and do most of their work as. Their RED Raven or Sony a7S or whatever that they own is merely just their play thing, and something to do occasional passion projects with. So even though they own "the same" camera as someone in category one, they're still in a very different position, as their personal camera isn't one they daily work with. It's almost more like their hobby camera. 

Ha! I don't think anybody owns individually 3x Sony BURANOs
But if you're part of a wide production, say just shooting a few days on a doco or coming in as an extra camera on reality tv series or doing a pick up day on a feature film, then yes, what camera you are using is very important.
As you're just one small cog in a bigger machine. (maybe that's one of the big differences vs a lot of photography, there is no "machine". Or if there is, the photographer is a much bigger cog in the machine, or even more likely the driver of it)
 
I'd say there is are two very different classes of DoP:
Those who own a camera vs those who don't and just rent in the cameras for a project as is necessary. (although, anybody owning an ARRI ALEXA Mini kinda fits into that second category. Just the difference is whenever they want they can access "a free rental" of their Mini from the rental house where it is being stored. As they probably won't have it being stored at home, or at least that's been the case with people who I know who own one)
And those in that first category are very much so are broken up into different tiers depending on what sort of camera they have. 
Side note: there are people in the second category who own a camera, but still sit in the "second category" because that's how they portray themselves and do most of their work as. Their RED Raven or Sony a7S or whatever that they own is merely just their play thing, and something to do occasional passion projects with. So even though they own "the same" camera as someone in category one, they're still in a very different position, as their personal camera isn't one they daily work with. It's almost more like their hobby camera. 

If you want even higher, there are lots of options with browser extensions if you want to go say 3x or 4x speed. 
For example:
https://chrome.google.com/webstore/detail/youtube-playback-speed-co/hdannnflhlmdablckfkjpleikpphncik/ 

I can't stress enough how much I believe external recorders suck, it's just one more thing to fail (and I've seen them fail multiple times, whether it was due to a bad cable, a cable getting yanked, an Atomos locking up, an output setting from the hdmi being checked/unchecked) etc. Sometimes it won't even register until there's playback.

You're right, there's no money to be made. At least not in 2023. I don't even bother mentioning to my existing clients that I have two older Red bodies. If I do, it's basically to sell them on my C70s. And honestly, if hired me to use them without a crew, it would be a pain and more stressful to me without the conveniences of modern features.
Also, I don't want to be hired for a passion project based on my camera. So I don't bring it up when networking with people in the local indie scene, unless they specifically ask.
All of this being said, I enjoy owning the camera that produces footage that just looks right to me. And it will be ready to go when I finally helm another of my own passion projects.

So...
 
I was diagnosed with kidney cancer on September 5. I had my right kidney removed on October 13 and am now cancer free (and if my scans show nothing in April I'll be considered cured!). During that entire period though, I didn't do any jobs and just focused on recovering, but had decided to dip my toe back into the water and had a small job planned for a friend this week.
 
As I was just going through my equipment in preparation of getting back into the swing of things my pup Teri knocked over my main S5 and IT BROKE. Now, it doesn't impact my job because I have two extras of the same cameras, but obviously it left me needing to get a new camera. Sooo...
I bought the Lumix S5IIX instead of getting another used S5. I swore I'd never buy a camera brand new again, but the used price isn't that much less, and I was able to get a decent deal on it with a lens. With all I've been through (having my kidney removed was, without a doubt, the most painful thing I've ever experienced, just FYI) I figured I'd treat myself. 
This is a long way to ask a couple questions while I wait for it to arrive tomorrow:
1. how easy is it to match the original S5 straight out of camera or with a little tweaking using the standard or natural color profile? I will use log, but for certain jobs it's just easier to skip that part.
2. why is there no third party battery grip? has anyone heard why? 
3. I have a couple third party batteries. Wasabi and Newmowa brands. Has anyone encouraged any problems with third party batteries? I have like six OEM batteries but I've heard the S5II and S5IIX's battery life isn't as good as the S5.
4. what are the best settings? I've seen tons of YouTubers but I'd prefer to hear it from people that do more than film themselves in their spare bedroom/garage and actually are out there getting the most out of their camera.
5. This one is most important: I just want you all to know I love you all. My ordeal has given me a greater appreciation for life, the interactions I have with other human beings, and just everything, really. Thank you @Andrew Reid and everyone else that makes this place special.

Great and the Sigma 28-70mm f2.8 is a compact high performing zoom and this pairing is my go to for ALL run & gun, indoor, outdoor, after dark…
I have had several 4/3 cameras and lenses including the EM5ii and the most recent OM-1 and whilst they may have marginally better stabilisation, performance-wise, beyond that, no contest, the full-frame S5ii is just better everywhere, stills and video.
Even with the f1.7 lenses. Nah, weight and IBIS aside, the S5ii kicks any and all 4/3 backsides.
GH6 and G9ii users may disagree. Get in a ring with the S5ii though and we would see who the real champ is 😉
My other choice would be the S1H which are now available at very decent prices on the used market, below new S5ii’s I think and you essentially trade a more compact, lighter, better AF frame for a better built (tank) unit with far better rear LCD, beautifully damped shutter and sound (for stills and important in theatres I reckon without resorting to electronic?) and a more ‘filmic’ image.
Funnily enough, I have and use both…
Gone over to Nikon for stills but can’t give up my Lumix for video…

In the meantime, in a galaxy, far, far away...
https://ymcinema.com/2023/08/24/panasonic-develops-a-variable-built-in-electronic-nd-filter/
I don't know if the choice to go on a larger "uni-body" could help to have this feature on all lines...
I think this feature could go live on a next S1H II